RIBA „ BALM
US INR VIOFO W IMF CLASSROOM
The article is intended te introduce the idea of us^ng video as an effective aid in language teaching to the students of our Teachers' Training College and an attempt is made to clarify and illustrate the principles of this new field in ELT.
Without claiming to tie all-inclusive, this paper tries to offer an outline of how to make use of vieo in the course of college English studies and thus enable trainee teachers at our college to adapt the new medium so that they should tie able to adapt what, they see to suit their circumstances and needs of their own students later in their teaching careers.
As more and more schools in Hungary possess videos and the necessary- software is also available, it is important that trainee teachers become competent with the machinery, preparation and special techniques tin?
medium requires, I think video exploitation techniques should be introduced as part of the methodology classes. It. is not only mere description and theory but demonstration and practice that would make video-based lessons more productive. In other words, relevant video materials and the availability of the hardware are essential in get ting students used to video. The introduction of video in any institution of education depends on the following three factors1:
the availability of
(i) materials
(i i) necessary equ i pmen t
(iii) suitable planning carried out by well prepared and purposeful teachers
It is generally understood that video requires a particular set of hardware, which consists of a VCR, a monitor or TV, and a camera might additionally belong to it
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The materials are represented by three main sources, which are the following:
(i) ELT specific (ii) of one's own
(iii) off-air recordings
ELT specific materials are designed with the purpose to become an integrated part of language teaching and meet the requirements of laoguage classes. They concentrate attention on items within carefully selected language areas and, as it is done io the case of other teaching materials, they are based on sophisticated methodological concepts.
Initially these language programmes have been launched as TV programmes, broadcast parts of a series, and that presented teachers and students with the obvious problems of a relatively short viewing time and, above all, broadcast times differing from those of classes. Ibis problem has successfully been solved at once with the appearance of audiovisual
2 tapes.
ELT video materials often come out as multi-media courses, consisting of videotapes, textbooks or activity books, teacher's guide and in some cases audio casettes.
It is desirable that teachers become familiar with this kind of material design and be able to use other materials, such as films, plays, documentaries or even cartoons. There are specially adopted sample versions of literary masterpieces or the classics of storytellers that are designed to make language come alive in a pleasant way in the classroom. Although these materials are likely to capture the attention and stimulate the interest of learners, still their application should be carefully planned with a variety of different viewing tasks and follow up activities. These techniques are going to be discussed later.
Although copying or off-air recording seems to provide teachers with an unlimited flow of material, one has to select and make plans so as to promote active viewing; and devise suitable practice. For off-air recording one thing should be kept in mind and that is unauthorized copying, which is obviously illegal.
Some teachers might waot to produce their own materials which would require certain technical skills. Certainly it could be a thrilling
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experience ?tr only production of supplementary mater;-' Is advisable.
Another important aspect of utilizing video faeiliti -3'in the classroom is observing the process of teaching, the work both of tnncfiers and students. However, teachers are not very likely to be encountered with this experience, at least not initially when dealing with video. I think presenting some basic information on I TOW the video casette player itself can successfully be brought into the classroom will be of more use for trainee teachers. This paper is just an outline of ideas on tins increasingly important resource, therefore calls attention only to major areas, like that of exploiting the visual element.
It is to tie emphasized that ttie ctioice of materials lias tn meet the following three assumptions and expectations about video':4
(i) it will be wort IT looking at
(ii) it will provide elements not found in other media (iii) learners will benefit from it
The first two criteria is, almost by definition, inherent in the audiovisual in the sense that it is a combination nf sound and vision, hence conveys the atmosphere of ttie target language nil turn; l anguage in fact comes alive realistically by the characters of the programme. In. I.
lonergan's description:
"The outstanding feature of video films is their ability to present complete communicative situations. Hie combinál inn nf sound and vision Is dynamic, immediate, and accessible This means that communication can be perci eved easily by viewers — end language learners ' "7
I believe the most heneficient way of getting students acquainted with the advantages and disadvantages of video is by means of using it in college conversation classes as well. Tn litis ideal case video could be exploited twofold; primarily students' fluency would be improved by using some advanced level material with them, and secondly, parallel with language practice in almost native situations ways of using video would be presented to them.. Thus indirectly arid still in a passive way they become familiar with the medium.
After having had at least a few classes using video students would be interviewed on their opinion and asked to discuss pros and cont:ras. In order not +o get in details the appropriate terminology is to be
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-introduced. The accompanying diagram is designed to provide a guide to enable students to focus on key expressions in connection with video.
Using an overhead projector the relevant parts could ho revealed as the discussion advances.
Though most authors claim that there are no actual rules to be followed by teachers, there still exists a unanimous agreement on two areas in connection with video exploitation, which are:
(1) avoiding students' passivity
(2) exploiting the non-verbal elements — as well as the verbal Inevitably watching video programmes immediately connects with an experience everyone lias been exposed to, and that is watching IV.
Students should realize that watching video does not equal with sitting back passively during class. Teachers, on the other hand, must know the material well and be competent both with choice of segments and techniques of exploitation, because their role "... is central ... the teacher has to relate the materials to the language learner's needs."
The fact that, though attractive and motivating, video is no more than an extra aid for language teaching should never be overlooked.
Secondly, all the experts warn teachers not tn Incus exclusively on the verbal; in other words, use video differently from audio.
There is no doubt about the unique wealth of information of sound and vision. This lias two aspects to it, (1) it presents language in realistic situations and (2) it is set in a cultural context. According to Margaret Allan, "... video is a literal medium demanding believable characters in believable situations."7 Situation or action appears in
its entirety, with all the extra- and paralinguistic aspects of communication. Language itself with its specific features is in the focus; language carries the cognitive load but visual clues are to be considered as potential clues to culture-bound elements of the message.
Furthermore, the visual supplies teachers with extra discussion topics or can be exploited for improving writing skills as well.
A most useful summary of the exploitation of the visual is given by M. Allan, in which she not only enunerates systematically the non-verbal elements of language but also gives some advice on bow to assess them.
Her conclusion is that if the language to be studied is not officially
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spoken in the country it is absolutely necessary to pay attention to the visual.
for a butter understanding of It tunchuis should gut acquainted with B
Ray Birdwhistell 's division of non -verbal signs.
The visual signals comprise of gestures, facial expressions, eye contact, posture, proximity, appearence and setting in Allan's classification. From her analysis of these categories it is clear that all of them convey information about different cultural and social attitudes, either witli or without being part of the interaction.
Thus appearence and setting are not part of it, being the so-called extralinguistic elements of communication. On the other hand, social norms and disposition varying from culture to culture (proximity), "body language" and behaviour that indicates inclinations (posture), conscious or unaware facial expressions or gestures usually appear as part of the interaction. In Birdwhistell's classification there are
(i) idiosyncratic signals, which are characteristic of the individual, so these are the most unlikely to be taught in a language class;
(ii) learned gestures, which are culture-specific and thus cultural differences could be pointed out;
(iii) continuous movement, which in fact is an indication of intentions in interactions anil could he ol importance for ESP
At this point students could be asked to collect examples of the various visually important elements. At the same time, as becoming primary school teachers, they should emphatically De reminded that the visual clues mean virtually new information for young learners, hence interest and motivation can be generated among pupils.
In the case of video the question of "how" to use ii successfully emerges for all teachers, especially when first confronted with it. One should not be surprized by the answer supplied Oy video specialists pointing out that there are basic techniques to be mastered by teachers and that these offer an almost endless variety oi possibilities with the different materials. Each of the experts on video identifies a particular set of exploitation techniques, notably nine or ten Oasic methods ate
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enumerated. These strategies can be employed with virtually any video, in any class. In outline, they are:
(1) viewing straight through -- with short sect inns
(2) viewing in sections — with longer sections or arranging material fnr an information gap exercise
(3) silent viewing ("sound off") — showing a scene with the sound turned off and asking for interpretation
(4) starting with sound only — with cartoons or other established series (5) prediction — stopping the video or freezing a frame and considering what will happen next
(6) freeze frame — stopping the video by pushing Ihe "pause" button;
asking all kinds of questions on the frame, focussing both on the verbal and the visual element
(7) description — asking students to describe what they have been watching (both sound and vision)
(8) reading their minds — speculating on the speakers' thoughts (after viewing conversations)
(9) understanding their feelings — exploring the emotions of ttie characters
(10) topics (themes) — interpeting a scene, with re-enacting
(11) role play — presenting a non-exact "repetition" of a scene within the framework of acquired language ("acting it out")
(12) reviewing — watching the whole section through for closing and expressing opinions about it in speech or writing
As application of these methods varies with the material presented, only a few practical examples can be discussed here.
In fact, the different techniques are combined- with different activities. Activities when using video in the classroom divide into the following categories:
(i) previewing (ii) viewing (iii) follow-up
Before making use of any materials in the classroom teachers must make sure that either the tapescript is available for them or they are able to produce one on their own. Silent viewing is advisable as well, to
analyse the Programme from the point of view of possible interpretations that might come up in class or details that might need further clarification. J. Loneryan's instruction Is well win. th taking Into consideration:
"When introducing video ... for the first time, any tasks associated with viewing should tie deliberately simple."
Teachers should also show confidence in hand!ing the machine, ie. he able to use appropriately the various facilities (the "pause", "stop",
"start", etc. buttons); and preferably be prepared to carry out all the necessary adjustments during class with noting down counter positions in advance.
In any kind of classes using video the actual viewing is preceeded by tuning in activites. In the case of viewing a section straight through the vocabulary and topic are to be introduced first, and a set of questions are given to the learners, Ihese questions concentrate on global understanding; later, for the second viewing they focus on details. Hole that it is not a good idea to ask students to make notes or complete a worksheet while they view as they will miss some of the information (especially in lower levels). A first viewing straight through can be checked with simple true or false questions. All active viewing guides should p ri ma ri l y support comprehension, but. can be developed into practice or reinforcing exercises.
Longer units fire to tie divided up into shorter segments, and presented in a sequence interrupted by the same simple activities as above. On the other hand, the order of the segments can be rearranged and the class divided into groups watch the sections separately with the aim of trying to reconstruct the whole by an information gap exercise. This technique is suitable for documentary materials and, as it requires a certain amount of language for exchanging information, can be applied in accordance with the level of the learners.
Silent viewing offers lots to do. Previewing questions for dialogues could be:
Wtio are the people you see?
Why are they there?
Whit are they doing?
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and for documentaries:
Where is the pa Ice?
What objects are shown?
Why is it interesting?
Language could also be focussed on: students try to predict what people are saying. When silent viewing, students might do such exercises as to match sentences with speakers (which obviously they did not hoar).
Freezing a frame is in some ways similar to silent viewing; it works well during the second or third watching. As it has been pointed out earlier, freeze frame is a treasury of information. The clothes, age, behaviour, etc. of characters can all be involved in questions or filling in tables; and this technique makes it possible to elaborate on culture- specific features that appear (anything from the emerald of the lawn to a sticky Brighton rock).
Speech might become easier for a great number of students as facial expressions iielp them to get at the correct pronunciation, placement, of stress and appropriate intonation. Verb tenses can also !m practised efficiently either by students commenting the section (with tire sound off, audio-dubbing) or by mere description of what they have seen.
All the conventional methods can conveniently be applied with video (completion exercises, filling in sentences or tables, even reading is possible with presenting students die tapcscript or a concise version ot it). Written exercises are used as follow-up.
Video ulitmately should be a stimulus for language production. From the stage of reception this process with some simplification could be described as follows: reception comprehension practice reproduction/reinforcement production.
I think for trainee teachers it would be rewarding to focus on beginner/elementary and intermadiate levels. The amount and the complexity of language presented to primary school learners must carefully be controlled. There are ELT materials (eg. A Weekend Away in Streamline English, OUP) that are designed to satisfy the needs of a
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complete course As it has already been started in grammar schools, some primary schools might introduce video experimentally If the hardware is available, it only requires some ingenuity and a hit of planning from teachers. Video can provide unique kinds of teaching. It. can extend learners' access to English and its uses by presenting a greater variety of speakers in a wider range of contexts that can be convincingly treated in a textbook or classroom. It can show language at work within whole systems of interaction, including non-verbal communication, and it can help supply the social and cultural background necessary for the language to be understood fully. It can also make the meaning of difficult language immediately clear; all these advantages will make learners want to watch and learn. Teachers are always encouraged to select and adapt materials to fit in with their own timetables, syllabuses and groups.
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Notes and references
1. cf, Karen Price, "The use of technology! varying the medium in
language teaching/' in Interactive Language Teaching (NY:CUP, 1987), 2. Jack Lonergan, Video Applications in English Language leaching
(NY:Pergamon Press, 1903)
3« for further information see Idegennyelvek tanításé, 1987/6
4. on ttie basis of Robert Maidment 's "Video in ELT", a lecture delivered by the author in Budapest, 22 Jan. 1988. He has designed videos for OUP and shared his ideas with and called attention to important aspects of Hungarian teachers.
5. J. Lonergan, op. cit.
6. Ibid.
7. Margaret Allan, "Making full use of your video," leaching English with Video (Essex, England: longman, 1985)
8. cf. M. Allan op. cit. Ray Birdwhistell is an American anthropologist, his book Kinesis vs Context (London: CUP, 1970) contains the ideas brought into methodology.
